4 20 532 https://artistsathome.emorydomains.org/files/original/31aabffa119288a8b06e44365a4bc2f4.tiff 7eca88a4188f52b7fc2f69396c21c547 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portraits Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ellen Terry as Lady Macbeth Date Created Date of creation of the resource. 1889 Creator An entity primarily responsible for making the resource John Singer Sargent Medium The material or physical carrier of the resource. Oil paint on canvas Format The file format, physical medium, or dimensions of the resource 2210 x 1143 mm Source A related resource from which the described resource is derived Tate, http://www.tate.org.uk/art/artworks/sargent-ellen-terry-as-lady-macbeth-n02053 Date Issued Date of formal issuance (e.g., publication) of the resource. 1889 Date Copyrighted Date of copyright. 2004 Abstract A summary of the resource. Ellen Terry as Lady Macbeth is an oil painting by John Singer Sargent. Is Referenced By A related resource that references, cites, or otherwise points to the described resource. Tate Britain website, “Ellen Terry as Lady Macbeth,” last modified in August 2004, accessed October 20, 2016. http://www.tate.org.uk/art/artworks/sargent-ellen-terry-as-lady-macbeth-n02053 Date Modified Date on which the resource was changed. November 30, 2016 Contributor An entity responsible for making contributions to the resource Omeka record contributed by Gabriella Meier Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 13, 2016 https://artistsathome.emorydomains.org/files/original/a59fd030fe7a35677b4ce4827329e325.png f4c842e3bb32de20276b247fcdd48944 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Works of Art Still Image Date 1520-1534 Source Wiki gallery URL http://www.wikigallery.org/wiki/painting_143152/Michelangelo-Buonarroti/Tomb-of-Giuliano-de'-Medici%3A-Night Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tomb of Giuliano de' Medici: Night Creator An entity primarily responsible for making the resource Michelangelo Buonarroti Date Created Date of creation of the resource. 1520-1534 Medium The material or physical carrier of the resource. Marble Subject The topic of the resource Personification of night https://artistsathome.emorydomains.org/files/original/c1411a26d029bac72005e97852172403.jpg ce6330982de1b060ac3bd6cacd49feb7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Works of Art Still Image Source The Athenaeum URL http://www.the-athenaeum.org/art/detail.php?ID=204396 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fair St. George Date Created Date of creation of the resource. 1881 Creator An entity primarily responsible for making the resource Sir John Gilbert (1817–1897) Medium The material or physical carrier of the resource. oil on canvas. Format The file format, physical medium, or dimensions of the resource 244 cm x 152 cm (96.06 in. x 59.84 in.) Source A related resource from which the described resource is derived Guildhall Art Gallery, London Contributor An entity responsible for making contributions to the resource Omeka record contributed by Gabriella Meier Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 13, 2016 Date Modified Date on which the resource was changed. December 7, 2016 January 20, 2017, by LM Subject The topic of the resource St. George and the Dragon Rights Information about rights held in and over the resource Public domain https://artistsathome.emorydomains.org/files/original/76b3bd4f4f8f76727eaacc3f241c62bc.jpg abc3e9aa623ba7daa176418749d42ba6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document NOTE. It may be readily imagined that Mr. J. P. Mayall’s task as the photographer of “Artists at Home” has not been an easy one. The recent improvement in photography by the introduction of the Rapid Dry Plate has alone rendered the thing possible. In Mr. Mayall’s hands, the photographs may fairly lay claim to a success beyond the average, more especially when the difficult task of photographing interiors is taken into account. The process by which these photographs have been reproduced on copper-plates, though not absolutely new, has now for the first time been so modified as to make it possible to give pictures which are not merely absolute facsimiles of the originals, but which bring out admirably the middle tints so often found wanting in the photograph from which they are taken, and which have hitherto been a characteristic only of high-class steel engravings. It may be said, the finer the photograph the finer the reproduced result. The intention of the work will be to introduce the homes of those artists whose names have acquired a deserved celebrity, thereby making “Artists at Home” an historical record of the famous artists of our time. S. L. M. & Co. Original Format Text page Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource NOTE, Artists at Home Date Created Date of creation of the resource. c. 1884 Creator An entity primarily responsible for making the resource S. L. M. & Co. [Sampson Low, Marston, Searle and Rivington, London publishers] Date Issued Date of formal issuance (e.g., publication) of the resource. December 1884 Abstract A summary of the resource. Identifies and describes the technological advances in photography and photogravure that make Artists at Home exceptional. Announces the aim of the publication--"to introduce the homes of those artists whose names have acquired a deserved celebrity," thereby creating a record for posterity of the famous artists of the day. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Preface1.jpg Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 16, 2016 https://artistsathome.emorydomains.org/files/original/39a08db037a175d138c15d9a03666169.png 569cd7c30515c864feb57d3fb44f8645 https://artistsathome.emorydomains.org/files/original/b8b2192fbd40b29fcd46da51574b2b39.pdf 8dc322f27e72bea1e411dbdeb1e99a09 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document <div style="text-align:center;">ARTISTS AT HOME</div> <div style="text-align:center;">PHOTOGRAPHED BY J. P. MAYALL</div> <div style="text-align:center;">AND REPRODUCED IN FACSIMILE</div> <div style="text-align:center;">BY PHOTO-ENGRAVING</div> <div style="text-align:center;">ON COPPER PLATES EDITED, WITH BIOGRAPHICAL NOTICES AND DESCRIPTIONS,</div> <div style="text-align:center;">BY F. G. STEPHENS</div> <div style="text-align:center;">NEW YORK</div> <div style="text-align:center;">D. APPLETON AND COMPANY</div> <div style="text-align:center;">1884</div> Original Format Text page Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Title page, Artists at Home Date Created Date of creation of the resource. 1884 Creator An entity primarily responsible for making the resource D. Appleton & Co., New York publisher Source A related resource from which the described resource is derived F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (New York: Appleton & Co., 1884), n.p. Date Issued Date of formal issuance (e.g., publication) of the resource. December 1884 Description An account of the resource Title page of the New York edition of Artists at Home. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_title.pdf Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 16, 2016 https://artistsathome.emorydomains.org/files/original/3c713095ce0e12de30453f8b76882ae5.png a470230edc7c1446e91f4f0cdecd4665 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document CHISWICK PRESS: --C. WHITINGHAM AND CO., TOOKS COURT, CHANCERY LANE, LONDON Original Format Text page Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Printer's page, Artists at Home Date Created Date of creation of the resource. December 1884 Creator An entity primarily responsible for making the resource Sampson Low, Marston, Searle and Rivington. :London publisher Source A related resource from which the described resource is derived F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p. Date Issued Date of formal issuance (e.g., publication) of the resource. December 1884 Description An account of the resource Printed at the bottom of the page on the reverse of the title page, facing the Dedication. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Printer_2 Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC Omeka file contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 16, 2016 https://artistsathome.emorydomains.org/files/original/122519ad0f0088214212a494c4f52347.png fec583ed221fc4f7488550b947a66c1a https://artistsathome.emorydomains.org/files/original/3fcc8b625247231f6c2fd588620fe72c.png d84d95ff0f81434b42708f20a89dd7e7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document <div style="text-align:center;">THIS COLLECTION OF PORTRAITS OF HIS COLLEAGUES</div> <div style="text-align:center;">AND BROTHERS-IN-ARTS</div> <div style="text-align:center;"> IS, WITH SPECIAL PERMISSION, MOST RESPECTFULLY</div> <div style="text-align:center;"> Dedicated</div> <div style="text-align:center;">TO</div> <div style="text-align:center;">SIR FREDERIC LEIGHTON, P.R.A., ETC.</div> LONDON, March 1, 1884 Original Format Book page Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dedication page, Artists at Home Date Created Date of creation of the resource. March 1, 1884 Creator An entity primarily responsible for making the resource Sampson Low, Marston, Searle and Rivington, London publisher Source A related resource from which the described resource is derived F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p. Date Issued Date of formal issuance (e.g., publication) of the resource. December 1884 Description An account of the resource Printed on the page following the title page and facing the printer's page. Abstract A summary of the resource. Dedication to Frederic Leighton Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Dedication_3 Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 16, 2016 https://artistsathome.emorydomains.org/files/original/6b2de15885a499e04dd6b066208a1750.jpg abc3e9aa623ba7daa176418749d42ba6 https://artistsathome.emorydomains.org/files/original/c1f3d70410491ce9f5bb317320782a20.jpg 30d866fd0ffa6b36fe3d65d831973b6d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document P R E F A C E. In biographical and historical interest no pictures surpass views of the interiors of artists’ studios, the oldest of which are, so far as I know, sketches of Egyptian origin, showing how walls and mummy cases were decorated on the banks of the Nile many thousands of years ago. The art-crafts of glass-blowing and vase painting are well understood by means of Egyptian drawings. Statuaries and statue painters in their ateliers are depicted at Beni-Hassan. Sir Thomas Browne would have helped us to guess at the appearance of Bezaleel and Aholiab while making the Tabernacle, but I cannot recall to mind a delineation of even a Greek sculptor at work, although there are effigies of men holding implements of art, modeling-tools and the like, to be seen in antique, probably Roman, bassi-relievi. The knight of Norwich could have given lively pictures, in words, of that marvel, the pre-historic draughtsman, the most ancient master known, whose skill and acutest observation incised upon the bones of his dinner the turning eye and twinkling ear of the doe, alarmed by the artist’s movements in the brake whence he watched her. But all this is, as Sir Thomas himself was wont to say, mere matter of conjecture, although it be built on the sure foundations of those bone-drawings by the immemorial artist which are now preserved in “cabinets of the curious.” We are, however, upon the surest ground before the engravings which reproduce a work found in the so-called Casa Carolina at Pompeii, which is neither more nor less than a satirical picture of a hunch-backed portrait-painter in his study taking the likeness of a gentleman, who, in a carefully arranged toga, and with his hair in complete order, sits stiffly on a stool. Two pigmy amateurs, and a goose—no doubt the art-critic of the day—enter the chamber on one side, while, on the other side, a colour-grinder pursues his vocation in an idle fashion, and a pupil turns from his drawing-board in evident disgust because the visitors chatter too loudly. A charming Magna-Grecian picture of a female artist copying in colours a term of the bearded Bacchus comprises a view of her own studio—with a framed design hanging all askew on the wall—and was taken from Pompeii to Naples about sixty years since. St. Luke himself, busily painting, was a frequent subject for quasi-Byzantine, Romanesque, and Gothic artists of devotional pictures in tempera and glass. The tutelary saint of the painters preserved his honours of delineation in many modes until, in a manner which is grotesque, and in 1532, Martin Van Heemskerck depicted him taking the portrait of the Virgin. The Dutchman meant well, but his effort was absurd. Several mediæval miniatures represent illuminators and scribes at work in the scriptoria of their monasteries, and one of the most curious illustrations of the engraver’s art is that humorous drawing (B. M. Add. MSS., Nos. 10, 292-‘3-‘4) which shows how, c. 1316, une duchoise ordered certain letters to be carved about an incised monumental effigy which, as the lady wears a wimple, and is evidently recovering from her sorrow, must have been the portrait of her deceased spouse. An incised slab in the Church of St. Ouen at Rouen displays two architects with their implements of drawing, and is dated c. 1440. Many early German woodcuts and engravings give us engravers, carvers, and painters at work. The Dutch artists of the seventeenth century occasionally represented the interiors of their studios, and several of their pictures have interest equal to that of the series of portraits I have the honour to introduce to the reader, because they comprise likenesses of men of renown, and, as some of our photographs do, they afford faithful representations of famous pictures. Teniers and Francks exercised themselves in this way. There is a magnificent instance by the former in the collection of the Duke of Cleveland at Raby Castle. A picture of this kind, attributed to Teniers, is now No. 88 in the Academy Exhibition. “The Archduke’s Gallery,” by him, is a superb example now at Madrid; it contains portraits of other artists at work. Ostade painted himself in the act of painting, and his picture is now at Dresden. Some great Italian masters depicted their contemporaries while engaged in art, and Rubens and Van Dyck delineated theirs similarly occupied. From these examples we descend rapidly to the eighteenth century during which period such subjects as those in question were rarely, if ever, essayed in England, until Hogarth took his own likeness while seated at an easel, and thus produced a little picture of the most delightful biographical value, which is now in the National Portrait Gallery. The Earl of Derby has at Knowsley a capital group by Hogarth of Monamy the sea-painter showing a picture on the easel to his patron. Winstanley took his own portrait while seated at work with a palette on his thumb. Reynolds represented himself shading his eyes from the light, holding a palette and brushes, and as if he were taking his own likeness from a mirror. This picture hangs near the former Hogarth at South Kensington. Zoffany’s interesting groups of portraits of the Royal Academicians in the Old Life School at Somerset House, painted in 1773, is now at Buckingham Palace, and brings us near to our own time. Likewise in that place is the same painter’s “Interior of the Florentine Gallery,” an analogous instance, comprising portraits of men of note and famous works of art; a picture fit to be matched with Teniers’s masterpieces. Henry Singleton painted the Royal Academicians in General Assembly in 1793, a picture which is now in the gallery at Burlington House. Vernet painted the famous “Raphaël au Vatican,” which is in the Luxembourg, and one of M. Meissonier’s masterpieces in small is the “Amateurs de Peinture,” in which two gentlemen watch an artist diligently painting. Having thus, so far as a morning’s work allowed, endeavoured to show what has been done in representing bygone artists in their studios, I may be permitted to introduce these pictures of the living to the reader. F. G. STEPHENS. Original Format Text pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource PREFACE, Artists at Home Date Created Date of creation of the resource. 1884 Creator An entity primarily responsible for making the resource Frederick George Stephens (1828-1907), author and editor Source A related resource from which the described resource is derived F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p. Date Issued Date of formal issuance (e.g., publication) of the resource. December 1884 Abstract A summary of the resource. The history of depictions of artists' studios. Is Referenced By A related resource that references, cites, or otherwise points to the described resource. Dianne Sachko MacLeod, Art and the Victorian Middle Class: Money and the Making of Cultural Identity (Cambridge: Cambridge University Press, 1996), p. 402. Julie Codell, The Victorian Artist: Artists’ Lifewritings in Britain, ca. 1870-1910 (Cambridge: Cambridge University Press, 2003), 56-59. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Preface1.jpg and NGA_Preface2.jpg Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 16, 2016 Description An account of the resource The Preface occupies two pages of text. It follows the Publisher's Note and precedes the table of contents. https://artistsathome.emorydomains.org/files/original/5ab56404532523da9457de6f8d184543.png 539c53d1d307386221557fe989464fd2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Letterpress Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document CONTENTS. SIR FREDERIC LEIGHTON, P.R.A., D.C.L., LL.D. . . 1 WILLIAM CALDER MARSHALL, R.A., H.R.S.A. . . 5 THOMAS WEBSTER, Hon. Retired, R.A. . . 9 VALENTINE CAMERON PRINSEP, A.R.A. . . 11 JOHN EVERETT MILLAIS, R.A., D.C.L. . 15 SAMUEL COUSINS, Hon. Retired R.A. . . 19 GEORGE A. LAWSON . . 23 MARCUS STONE, A.R.A. . . 27 LAWRENCE ALMA TADEMA, R.A. . . 29 RICHARD REDGRAVE, Hon. Retired R.A. . . 35 JOHN PETTIE, R.A. . . 39 FRANK DICKSEE, A.R.A. . . 43 GEORGE FREDERICK WATTS, R.A., LL.D. . . 45 W. HAMO THORNYCROFT, A.R.A. . . 49 WILLIAM FREDERICK YEAMES, R.A. . . 53 JOHN MACWHIRTER, A.R.A. . . 57 SIR JOHN GILBERT, R.A. . . 61 PHILIP HERMOGENES CALDERON, R.A. . . 65 BRITON RIVIERE, R.A., M.A. . . 69 JOSEPH EDGAR BOEHM, R.A. . . 73 EDWARD JOHN POYNTER, R.A. . . 77 THOMAS OLDHAM BARLOW, R.A. . . 83 ROBERT WALKER MACBETH, A.R.A. . . 87 GEORGE ADOLPHUS STOREY, A.R.A. . . 89 THE RIGHT HON. W. E. GLADSTONE, M.P., Professor of Ancient History in the Royal Academy . . 93 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource CONTENTS, Artists at Home Date Created Date of creation of the resource. 1884 Creator An entity primarily responsible for making the resource Sampson Low, Marston, Searle and Rivington, London publisher Source A related resource from which the described resource is derived F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p. Date Issued Date of formal issuance (e.g., publication) of the resource. December 1884 Description An account of the resource The table of contents follows the Preface and precedes the first artist's biography. Rights Information about rights held in and over the resource The online edition of this work in the public domain, i.e., not protected by copyright, has been produced by the National Gallery of Art. Identifier An unambiguous reference to the resource within a given context NGA_Contents.jpg Contributor An entity responsible for making contributions to the resource Department of Image Collections, National Gallery of Art, Washington, DC Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 16, 2016 https://artistsathome.emorydomains.org/files/original/150176399d57107d7a7ed76c6586d8e8.png 11aac8d603b04ac4a408f37017af4df9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Of “Artists at Home”—photographs by Mr. Mayall and text by Mr. F. G. Stephens—we have received the first five numbers. To us, we confess it, the publication, if in some sort useful, is absolutely devoid of interest. Mr. Stephens’s text is not much more than catalogue; and Mr. Mayall’s photographs—or rather, the photo-engravings on copper plates reproduced therefrom—are singularly lifeless and dull. Everybody looks as though he were sitting for his portrait; the very furniture is posing; and over all is that terrible and tremendous presence, the photographer’s light, “the light that never was on sea or land.” Mr. Calderon affronts the camera with much sternness; Sir John Gilbert has the sun in his eyes, and comes out very white and vague; Mr. Boehm, sitting desultorily among busts and statues, seems to have been caught in the act of reading the paper; while Mr. Alma Tadema, as unlike himself as possible, leans boldly and airily on the chimney-piece, and Mr. Frank Dicksee, austere yet frightened, does even as Mr. Alma Tadema, and Mr. Val Prinsep turns from his picture with a frown, as if he felt inclined to wring the photographer’s neck. Other artists presented to the public are Mr. Webster, the President (a sufferer, but resigned), Mr. Redgrave, Mr. Cousins, Mr. Millais, Mr. Pettie, Mr. Marshall, and Mr. Marcus Stone. The book, which is published by Messrs. Sampson Low, is written with all Mr. Stephens’s wonted emphasis on intimacy and exactness, and will probably be quite as popular as it deserves. Original Format Text pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Art in September," Magazine of Art, 1884 Date Created Date of creation of the resource. September 1884 Source A related resource from which the described resource is derived The Magazine of Art, vol. 7 (September 1884): xlviii Subject The topic of the resource Artists at Home by J. P. Mayall and F. G. Stephens (1884) Abstract A summary of the resource. A decidedly negative review of the first five installments of Artists at Home, with objections to its lackluster text and lifeless photographic portraits. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884). William Wordsworth, “Elegiac Stanzas Suggested by a Picture of Peele Castle in a Storm, Painted by Sir George Beaumont.” Rights Information about rights held in and over the resource Public Domain in the United States, Google-digitized Identifier An unambiguous reference to the resource within a given context Review_MagOfArt_9.84 Contributor An entity responsible for making contributions to the resource The Magazine of Art, Google Books http://hdl.handle.net/2027/mdp.39015080283537 Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 20, 2016 https://artistsathome.emorydomains.org/files/original/ae04c7014ba43f50cd9614b551a6a136.png 7dc24bb8a415f0d5ab77a11a8ee30e34 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document <div class="WordSection1"> Dedicated by special permission to Sir FREDERICK LEIGHTON, President of the Royal Academy. ___ Messrs. SAMPSON LOW, MARSTON, & CO. Have much pleasure in announcing that they have made arrangements with Mr. J. P. MAYALL, Photographer, Park-lane Studio, to produce a Monthly Series of absolutely permanent PHOTO-ENGRAVINGS, entitled ARTISTS AT HOME. Mr. J. P. MAYALL has been honoured with permission to photograph a number of the leading Painters, Sculptors, Architects, and Engravers of the day in their studios, or in their homes, while surrounded by their pictures, sculptures, and other objects of art which characterise those places. In this undertaking he has already been successful in obtaining most satisfactory Photographs of the following artists (a list to which other names will be added in due course):- Sir F. LEIGHTON, President of the Royal Academy. ALMA-TADEMA, L., R.A. ANSDELL, R., R.A. ARMITAGE, E., R.A. BARLOW, T. O., R.A. BODLEY, G. F., A.R.A. BOEHM, J. E., R.A. BOUGHTON, G. H., A.R.A. CALDERON, P. H., R.A. COUSINS, S., Hon. Retired R.A. DICKSEE, F., A.R.A. EDIS, ROBERT W., F.S.A. FAED, T., R.A. FRITH, W. P., R.A. GILBERT, Sir J., R.A. GOW, A.C., A.R.A. GRAHAM, P., R.A. GREGORY, E.J., A.R.A. HAAG, CARL HODGSON, J.E. R.A. HOLL, FRANK, R.A. HORSLEY, J.C., R.A. HUNTER, COLIN, A.R.A. JOHNSON, C.E. LAWSON, G.A. LESLIE, G. D., R.A. MACBETH, R.W. A.R.A. MACWHIRTER, J., A.R.A. MARKS, H. S., R.A. MARSHALL, W. C., R.A. MILLAIS, J. E., R.A. MORRIS, P. R., A.R.A. OAKES, J. W., A.R.A. OULESS, W.W., R.A. PETTIE, J., R.A. POYNTER, E.J. R.A. PRINSEP, V.C., A.R.A. REDGRAVE, RICHARD, Hon. Retired R.A. RICHMOND, G., R.A. RIVIERE, BRITON, R.A. SANT, J., R.A. STONE, MARCUS, A.R.A. STOREY, G.A., A.R.A. THORNYCROFT, W. H., A.R.A. WATTS, G. F., R.A. WEBSTER, T. Hon. Retired R.A. WOOLNER, T., R.A. YEAMES, W. F., R.A. **It may be stated that the Right Hon. W.E. GLADSTONE, M.P., as “Professor of Ancient History” to the Royal Academy, has sat for a photograph in his library at Hawarden Castle. Other lay members of the Academy will be added to the series.</div> <div class="WordSection3"> ---------- These likenesses have that interest which attaches to the most exact and characteristic representations of eminent men, each in the habit of his life, and in every sense at home. The portraits will be reproduced by an entirely new and unquestionably permanent process of PHOTO-ENGRAVING, and issued in Monthly Parts at FIVE SHILLINGS each part. Every part will contain Four Engravings from the Photographs, all Facsimiles of the originals, and include a short Biography of each artist, with a description of his studio. The Biographies will be written by, and the literary portion of the work generally will be under the editorship of, Mr. F. G. STEPHENS. The size of the work will be imperial quarto. The text and plates will be printed on the finest paper. Each part will appear in an appropriate wrapper. It is further intended to print a Superior Edition on india paper, mounted on papier de Hollande, and of royal folio size, which will be limited to One Hundred Impressions taken from each plate before the lettering is engraved upon it; Fifty of which will be reserved for American subscribers. This edition will be published at Ten Shillings and Sixpence each Part, and supplied only to subscribers for not fewer than TWELVE MONTHLY PARTS, beginning with a volume. </div> ----------- It is intended to commence the publication in March, 1884, and to continue it monthly. The FIRST PART will contain:-- <ol><li>Sir F. LEIGHTON, P.R.A.</li> <li>T. WEBSTER, R.A.</li> <li>W. C. MARSHALL, R.A.</li> <li>V. C. PRINSEPT, A.R.A.</li> </ol>Orders may be given to any Bookseller in Town or Country. Original Format Text pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Sampson Low, Marston, & Co.’s New Publications," The Academy, 1884 Date Created Date of creation of the resource. February 2, 1884 Source A related resource from which the described resource is derived The Academy, no. 613 (February 2, 1884): 71. Subject The topic of the resource Artists at Home by J. P. Mayall and F. G. Stephens (1884) Abstract A summary of the resource. Publisher's advertisement for the forthcoming publication, including publication details and a list of the artists whose portrait photographs are to be included. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. F. G. Stephens, Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884). Rights Information about rights held in and over the resource Public Domain Identifier An unambiguous reference to the resource within a given context Ad_Acad_2.2.84_ts Contributor An entity responsible for making contributions to the resource The Academy (London, 1869-1902), ProQuest.com Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 20, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists' Houses Studio Address 24 Camden Square, London London borough Camden Town Town/county London Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 24 Camden Square The House of Samuel Cousins Date Created Date of creation of the resource. Converted c. 1857 Contributor An entity responsible for making contributions to the resource Omeka record contributed by Ekaterina Koposova Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 12, 2016 Date Modified Date on which the resource was changed. November 30, 2016 Is Referenced By A related resource that references, cites, or otherwise points to the described resource. Charlotte Gere, Artistic Circles: Design & Decoration in the Aesthetic Movement (London: V&A Publishing, 2010), p. 41: "He lived in a rather severe but substantial house in North Terrace, Camden Town, his walls hung with the finest examples of his own remarkable technique." https://artistsathome.emorydomains.org/files/original/7309ce8e20f03f034f98fb42547d8a5d.png bf6f3b90fded23aece2ccecc269aa644 https://artistsathome.emorydomains.org/files/original/db125af94d5a63ec6b3ca2738e9e5d47.pdf 92fd5ae4cd16359a65783fd19eda52ce Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document <div class="WordSection1"> THE GRAND OLD MAN. VII.—THE WHOLE-HEARTED HOMAGE OF A HERO-WORSHIPPER. BY MR. J. P. MAYALL PHOTOGRAPHER </div> [Mr. J. P. Mayall, one of the well-known photographers of that name, paid two visits to Hawarden for the purpose of photographing Mr. Gladstone. Of them he has been good enough to send us the following remarkably interesting account, which will be read with great interest. We are also indebted to Mr. Mayall for having placed at our disposal the charming series of photographs of Hawarden Castle, and the photograph of Mr. Gladstone in his library, and of Mrs. Gladstone at her working table. These have been reproduced with great care in this little book.] <div class="WordSection3"> THE CASTLE LOOMS UP IN THE DISTANCE. I packed up my apparatus and started off with my assistant on January 15, 1883, by the 5:15 A.M. train, from Euston. We arrived at Broughton Hall in due course, distant about two miles from Hawarden Castle, which was visible from the railway station. We drove over in a trap. The day was dull and unpromising for photography. The aspect of the country became more interesting as we approached the lodge gates of the park which surrounds the Castle. Once inside the park the undulating character of the country studded with fine trees was very charming, reminding one so much of the subject of Mendelssohn’s beautiful part-song “Departure”:— * O Hills! O Vale of Pleasure! O Woods, with verdure drest! When all the charms of leisure So oft have calmed my breast. The book I read is Nature’s’ There simple truths appear; And though she change her features Her dictates still are clear. Though far from ye I wander, Lost in the worldly train, My heart will fondly ponder, And sigh for ye again. Some one quoting the adage to Napoleon I, “L’ habitude est une second nature,” he re-marked, “C’est dix fois la nature.” To compare great things with small, I may mention that it is a mental habit of mine in my walks abroad and during my journeys to be constantly either improvising music heard alone by the soul within, or recalling some favourite bit from Beethoven or Mendelssohn, whose music specially delights me. I have listened to their music long and often with rapt attention, and in my own humble and imperfect way endeavoured to interpret it on the piano and the organ. This has ever been a great resource and entertainment to me, and as every one is permitted to indulge in a hobby music is mine. Well, then, to my mind Hawarden Park represents a magnificent poem set to music. There one would delight to roam the long summer days, “forgetting and forgot” by the thousand and one cares which beset the life of man in cities, under the blue sky of heaven, there to commune with one’s own heart. There to go out at eve in the fields to meditate as Isaac did of old. Surely after a busy and chequered life there would be enough to occupy one’s thoughts. As a background to this magnificent scene, the stately castle looms in the distance, the goal of our journey and the home of one of England’s greatest men. A noble and stately pile, built of stone in the mediæval Gothic style, with embattled towers and ponderous gateway. Our coachman entertained us with bits of local lore, and acquainted us with the important fact that he had often driven the old lady and gentleman (alluding to Mr. and Mrs. Gladstone) from the station in the vehicle we occupied. The coachman was evidently quite at home, for on approaching the ponderous gates he stepped down in the most familiar way and opened them both, and then entered in state, as though the place belonged to him. I was somewhat afraid we were trespassing by thus entering at the front gate, being always fearful of intruding, like “Paul Pry.” I had written to Mrs. Gladstone immediately on receipt of her letter to say that we should present ourselves at the Castle on Tuesday morning. “SPARE NOT, WASTE NOT.” Accordingly, I sent up my card by the major-domo, after waiting a few minutes in the servants’ hall, where I whiled away the time by taking down an inscription written over the fireplace in these words:— Spare not, Waste not. To Sobriety Add Diligence. Good words, excellent precepts, sound advice. These ought to be inscribed in letters of gold in every home in the Kingdom. Old-fashioned, antiquated, some may be inclined to say, but nevertheless true. Those who practice these precepts alone can afford to relieve the necessities of others. And where could moral virtue be inculcated with better grace than in the home of the past and future Prime Minister of England? One who himself excels in every moral and social virtue, worthily does he occupy the exalted position to which he has been called by the Sovereign and people of England. From his labours, his life, and his character may every Englishman learn the most useful of lessons. “Not slothful in business, fervent in spirit, worshipping the Lord.” What greater praise could be meted out to any human being? As an epitaph, let me for my part merit such, and this may be applied without challenge to Mr. Gladstone when “time with him shall be no more.” His name Englishmen will always cherish and not willingly let die. But I must cease moralizing (which my friends tell me not to do), and come back to the subject. The major-domo (who rejoiced in the familiar name of Smith) returned in a few minutes with a message from Mrs. Gladstone desiring to see me. I was ushered up a winding staircase leading from the basement, and after passing along passages and through various rooms was finally shown into the drawing-room. Mrs. Gladstone came forward and shook hands cordially, and presented me to her daughter. She desired me to come to the fire and warm my hands, which were cold after our six hours’ journeying. She said, “And so you have come all the way from London to photograph Mr. Gladstone.” I replied that I was most delighted and happy to come, that it would form a red-letter day in my calendar. I had brought with me a number of the photographs of “Artists at Home,” including some enlargements of Sir John Gilbert’s studio and T. Webster, R.A. I had also with me a life-size portrait of a gentleman with the Rembrandt lighting. These she admired very much, and said that it was very kind of me to bring these photographs with me for her inspection. Mrs. Gladstone thought that photography was making immense strides, and said how interesting it was to see the progress of the art. “THE TEMPLE OF PEACE.” She listened patiently and attentively to all that I had to say, but as I have a mortal fear of boring people I pulled myself up in discoursing about photography to apologize and trust that I was not wearying her. To which she gave a courteous “No!” Now came the technical and other difficulties to be surmounted in taking a photograph of Mr. Gladstone in his sitting-room. I had been somewhat alarmed at the persistent way in which Mr. Gladstone’s sitting-room had been pronounced too dark to be photographed. “Ah!” said I to myself, before seeing the sitting-room, “des faux bruits.” I have hardly seen a room which does not admit of being photographed with Wratten’s dry plates. “Soyez tranquille, mon ami,” I said to myself; “ne t’embarrasse point.” Now Mrs. Gladstone told me that she wished to prepare Mr. Gladstone for the ordeal of being photographed, shall I say, for the thousand and first time. Would I therefore follow her into the “Temple of Peace.” By this tranquil name did she designate Mr. Gladstone’s sanctum. “Look round and take a general survey. Take no notice of Mr. Gladstone,” who was sitting in his favourite corner reading. Accordingly I followed her with light footstep and on entering I inwardly exclaimed, “Allons donc! des histoires. There is light enough here for my purpose.” But my attention was fully absorbed as Mrs. Gladstone pointed out the table where the Homeric studies had been penned, her own table, with many objects of interest scattered about (one a medallion of a great friend of Mr. Gladstone—Sidney Herbert, now no more). I mentioned to Mrs. Gladstone that I recollected quite well when a boy being present in my father’s studio when Sidney Herbert sat for his photograph. Here was a goodly sight for a lover of books (that is another hobby of mine). I could exclaim with the old Roman, “Vita sine literis, mors est.” The books were evidently arranged by the loving hand of a genuine bibliophile. A massive bookcase in the centre of the sitting-room contained a variety of superb editions of Dante arranged by Mr. Gladstone’s own hands. WHAT MR. GLADSTONE WAS READING. Mrs. Gladstone suggested to me that if I found them in the way they could be removed. I said, “No! madam, don’t touch them. I am somewhat of a bookworm myself, and am jealous of any one disturbing my books. I will bring that much-treasured bookcase in view when I photograph Mr. Gladstone,” which I afterwards did. In the library were books on every conceivable subject. A series of shelves were dedicated to many and various editions of my favourite Shakespeare (the poet of poets). Even at a cursory glance I could gather from their titles in divers languages—Greek, Latin, Italian, French, German—those even which caught my eye. Ponderous tomes, representing the classical authors, Aristotle, Plato, Herodotus, Thucydides, &c., &c. Reader, if you want to test your powers of comprehension, just try your ‘prentice hand on a volume of dry, theological disquisition which I saw in Mr. Gladstone’s library, entitled “L’Immaculata Concepzione.” Mr. Gladstone must have waded through this treatise with the same sturdy perseverance as though it had been a State paper to be grasped and fathomed before it could be dealt with, enabling him to expose the sophistry of the Roman Church. Yet one could imagine Mr. Gladstone’s capacious mind unraveling the thread of the argument and exposing it to view, unmasking, as it were, and divesting it of all its pomp of words and parade of logic with which the Church of Rome loves to array its lucubrations, which are made to conceal the real poverty and hollowness of the argument. “The Vatican Decrees” must have been well thumbed and thought over before answering. OVER 15,000 VOLUMES. In the sitting-room and adjoining rooms of the library are over 15,000 volumes. It was a saying of George III.: “It often happens that when I ask my lawyers a question of law, they are unable to reply off-hand, but they know where to place their hands on the desired information.” Doubtless, thought I, the three score years and ten of the Psalmist would not suffice, however diligently employed, to read all these books through, but one book becomes like a skeleton key, useful in unlocking the treasures of a good many others. And very truly may it be said that one book is a key to another. But this requires intellectual power of no ordinary kind, powers of memory quite prodigious, facility of study, and much leisure. In viewing Mr. Gladstone in the seclusion of his library from my stand-point, the man of letters was more prominent than the statesman. The scholar will always be an object of interest to the man of literary taste. Politics to him cannot possess that absorbing interest which belong to the productions of literature. Perhaps the most profound writer and thinker the Greeks produced was in my humble opinion Aristotle. Yet how would the later generations have known of his existence had he not possessed the literary faculty in a supreme degree? Had he not committed his thoughts to writing, the mighty Stagyrite would have been known most imperfectly to these later times. Aristotle’s writings were not published until some time after his death. In him the literary faculty must have been supreme, as he wrote for posterity, but he has, in consequence, left us evidence that he possessed one of the most profound and encyclopædic intellects the world has ever seen. All this, however, is hardly germane to photography, and perhaps the reader may wish me to do like the cobbler and stick to my last. Well, then, to resume. All the preparations being made and ready, the camera in site, double slides charged, and a good solid head-rest placed behind the chair, Mr. Gladstone was seated and I exposed the plate 120 seconds. Mrs. Gladstone and her son, who were in the library at the time, thought that I had exposed the plate five minutes, the time seemed so long. I said no, I had counted 120 long seconds, so Mr. Gladstone very good naturedly said, “Photographic seconds,” which I explained must be lengthened out if possible, as every photographer dreads under exposure. PHOTOGRAPHING ROYALTY I may mention that during my career as a photographer—in which calling I was brought up as my father before me, who is now the oldest photographer living in England—in my career as a photographer it has often happened that I have assisted my father in photographing great and illustrious personages, but this in quite a secondary capacity. My memory now recalls a scene on the terrace at Osborne House, Isle of Wight. About the year 1855 my father received her Majesty’s commands to attend there for the purpose of taking some photographs, and I accompanied him. In succession were photographed the Princess Royal, the Princess Helena, the Prince of Wales, the Prince Alfred, finally her Majesty and the Prince Consort. To my boyish mind it was naturally a subject of curiosity to approach these Royal personages in all the unstudied intimacy of their daily life and surroundings. But I must here frankly confess that my admiration and enthusiasm could never be thoroughly aroused by the presence or interview with merely persons of rank. Was it Louis XIV. who said that “No man was a hero to his valet”? Well, then, I had often asked myself what impression would be left on the mind if one should ever be called upon to officiate in person in photographing a really great man. My curiosity, my enthusiasm would then have ample scope for gratification, and I shall here attempt to analyze my feelings on being ushered by Mrs. Gladstone into the “Temple of Peace,” and there to stand in the very room where Mr. Gladstone sat in his favourite corner, looking impassive as marble, engaged in reading. It was a feeling of respectful awe, as I said to myself, “There sits the greatest living man, one who by mere force of intellect and culture occupies the most exalted position to which any subject can be called. In him behold the highest product of civilization. By no accident of birth is he Prime Minister of England, no caprice of fortune can account for his present position, but that one sovereign gift of intellect vouchsafed to him by the Almighty has made him and fitted him for the office he holds.” </div> <div style="text-align:center;">GREAT MEN AND BOOKS.</div> <div class="WordSection5"> In my own small way and amongst my friends I have a certain ascendency, and am looked up to; but never in my life, either before or since, did I feel my own inferiority and insignificance as during that moment when I stood in that library in Mr. Gladstone’s very presence. For that privilege and for that moment and at that time I would not have exchanged positions with any man in England. That was a precious experience which I shall carry with me through life, on which I shall often dwell and ponder, and have endeavoured, however feebly, to reproduce here on paper. But the experience itself defies description. All that I had ever read, thought, or seen of great men flashed across my mind, and I saw they possessed this is common—the literary gift, the love of letters. The greatest men the world has yet seen loved books. Alexander the Great placed a copy of Homer under his pillow to mark his love and admiration of “the blind old man of Scios’ rocky isle,” Cicero, the most Grecian in mind and culture of all the Romans (for to him Greek was as familiar as his mother tongue)—in Cicero the man of letters dominates the man of law. Then, again, Julius Cæsar, himself only inferior to Cicero as an orator, was a man profoundly literary in his tastes. How interesting to find Cæsar while in Britain corresponding with his literary friends in Rome, proposing and solving the grammatical questions and niceties of idiom of the Latin tongue! Speaking of the love of letters, how eloquently Cicero has said, “Delectant domi, non impediunt foris.” And so on, the great masterminds have been eminently devoted to literature. Dante, in the “Divina Commedia,” at a bound fixed the Italian language and literature for all time. Our own Shakespeare and Milton, whose words are indeed familiar to our lips as household words—have they not in a measure schooled and fashioned the best minds this country has produced? Shakespeare and Milton I particularly love and revere. What, reader, would you or I sacrifice to be ushered into the presence o Shakespeare or Milton, if that could by any possibility be accomplished?—it is a dream, and must remain such. But I have tasted something of what a similar experience might leave on the mind. A DESCRIPTION OF THE TEMPLE. In that library at Hawarden Castle I saw one of the master spirits of the world, the scholar surrounded by his books and literary treasures, the man of letters immersed in thought, deep in study. You may perhaps be curious to know what book Mr. Gladstone had been reading. Now, as chance would have it, on my second visit to Hawarden Castle in June, 1883, after I had settled my apparatus in the library on the morning Mr. Gladstone sat to me the second time, I, being alone and having nothing else to do, availed myself of the opportunity to make a minute inspection of the library. On the table close by the chair where Mr. Gladstone sits in his library, I saw an open volume laid flat, placed with the pages facing the table so as not to lose the place—a habit familiar to every serious reader (and a very much better plan than dog-earing a page). I had the curiosity or indiscretion, which I dare say Mr. Gladstone will pardon, to examine the volume Mr. Gladstone had been reading, and the comments he had been making on it in his own handwriting. It was a volume in Greek—the Odes of Pindar. I said to myself, that must be pretty stiff reading, and would rather tax one’s knowledge of Greek. You require to be an enthusiastic Greek scholar to tackle such an author. The rest speaks for itself. To drop upon a man in his most unguarded moments might give you a surer key to his character and tastes than to meet him in public “staging himself in the eyes of the multitude.” I must confess, for my part, an extreme desire to make the acquaintance of men, not as they are seen by the outside world, but simply following the bent of their minds. Here is a touchstone of character which reveals volumes to the initiated and the genuine searcher. MRS. GLADSTONE’S TABLE. In Mr. Gladstone’s sitting-room at the other end of it is Mrs. Gladstone’s table. I may say, for the reader’s information, on my first interview with Mrs. Gladstone I perceived that I had a valuable ally to aid me in getting the photographs I required (this I said to her), and I was not wrong, as the sequel proved. I therefore addressed myself to Mrs. Gladstone, who was always accessible, kind, and courteous to me whenever I required to make any arrangements. Having been honoured with a separate sitting by Mrs. Gladstone on my first visit, I had a life-size enlargement done from the negative; this I took with me on my second visit. This enlargement found favour with Mr. Gladstone and his family, and procured for me the honour of a separate sitting from Mr. Gladstone as a pendant. When I had finished the sitting in the library, I made bold to ask Mr. Gladstone himself to favour me with a separate sitting for a Rembrandt photograph, as a companion to the one of Mrs. Gladstone. To this the right hon. gentleman assented at once, and said that he would sit for me in the open air if I liked. Now the previous evening I had reconnoitered the various rooms and selected a spot in a recess of one of the windows in the drawing-room adjoining the library, the light there being suitable for my purpose. This I mentioned to Mr. Gladstone, who said, “Very well, when you are ready let me know.” In the said recess a very serious impediment stood in the way of the reflector used in the Rembrandt lighting—namely, a marble bust perched on a pedestal. This I pointed out to Mr. Henry Gladstone, who volunteered assistance in carrying the apparatus out of the library. Mr. Henry Gladstone, without more ado, coolly took the marble bust (weighing I don’t know how much) in his arms and deposited it safely on the floor. I said “Bravo! well done!” At the time I spoke to him quite familiarly about Mr. Gladstone and things generally, not knowing that he was Mr. Gladstone’s son. This I only learnt a few minutes after when I came to take his portrait. I adjusted the chair, the camera, the head-rest (no prudent photographer travels without that), and the portable background. I was then ready for action, and Mr. Henry Gladstone went and told his father, who came out of the library into the drawing-room. Mr. Gladstone noticed the marble bust had been lifted off the pedestal and placed on the ground. I said to him, “I think, Sir, we have Hercules (pointing to Mr. Gladstone’s son) here. It’s no joke to lift that bust,” at which he smiled. A FEAST FOR THE EYE. He then sat down in the chair, and here again was a feast for the eye of a painter, let alone a photographer. That face, that effect of light and shade, will never be effaced from my memory. It would have required Rembrandt himself to do justice to the occasion. There was a noble and majestic countenance, almost leonine in its aspect, so full of power and masculine dignity. This was one view of Mr. Gladstone’s face which I caught when I heard him speak in the House of Commons in May, 1883. At least, thought I to myself, I will aim at something different from anything I have yet seen of Mr. Gladstone. Whether I have succeeded or not I must leave others to judge. To the eye of the photographer Mr. Gladstone’s face is pale as marble, and the lips and eyes alone give indication of colour. I have not seen any oil-painting of Mr. Gladstone which satisfies my eye or which thoroughly represents the man. Per contra, as a salve to the portrait painters, I have seen a tremendous lot of caricatures of Mr. Gladstone in the shape of photographs (I hope that mine will not be included) which are downright false and repulsive. The finest photograph I have yet seen of Mr. Gladstone, and which I should like to have done myself, was one taken in Florence during his last visit to Italy. There is a delicacy and refinement about that photograph which pleases me. I have often gazed at it with much pleasure and delight. To the photographer Mr. Gladstone would be an endless subject: there is a refined expression on his countenance which caught my eye when speaking to him in the library which has not yet been portrayed either by painter or photographer. He will be a fortunate man who can render it. In the meantime, we must be satisfied with what has already been obtained of him. Every one knows how difficult it is to call up an agreeable expression at the time of being photographed. MR. GLADSTONE ON PHOTOGRAPHY. Just at the critical moment of taking the cap off the lens I asked Mr. Gladstone to fix his eye on one point. He did so, and said that he had often thought that photographers ought to have some toy or other to amuse or attract the attention of the sitter. I suggested the expression I should like to secure would be one called up by listening to fine music. I threw this out as a hint to other photographers in their operations. But I make this observation in general as regards photographic portraiture, that the normal expression of the face can only be obtained in a subdued light—photographic studios have generally too much glare. This I consider a fatal objection to the use of electric light, which is very apt to call up a painful, forced expression seen at no other time. Another very important element in producing a successful portrait of any one is the photographer himself. In my view a good photographer is Rara avis in terris, nigroque simillima cygno. And the qualifications are very high. Photography, I am sorry to say, like school-mastering, though worthy of the highest abilities, is frequently followed by men of the lowest, and, to use a current phrase, has become “a refuge for the destitute.” A good photographer requires to be a fair chemist, a man of good taste and agreeable manners, and very much indeed of an artist. As the Captain in Dickens’s novel very justly observes, “When found, make a note of.” It is to be hoped that the photographer of the future may be recruited from the ranks of the ardent and enthusiastic amateurs whose name is legion. Whenever I see an amateur I always extend my right hand to him as a possible future brother, and I indulge him in his hobby by talking “shop” to him to his heart’s content. I hereby give notice that all amateurs are welcome at my place, and I don’t in the least look upon them as intruders. THE TREE-FELLING IN THE PARK. To return to the library, I noticed on one of the side shelves among the walking sticks, a very fair collection of axes of different sizes and patterns, but this collection was fairly dwarfed in comparison with a collection I saw in one of the outhouses of the Castle. It appears certain manufacturers of axes in Sheffield and elsewhere when they bring out an axe of a new pattern, send one to Mr. Gladstone for trial. The tree-felling was quite in the ascendant on the occasion of my visit. After the family had lunched, they made up a party, armed with axes, and started for a spot in the park to perform their self-appointed task. I had occasion on my way to photograph the gateway to catch sight of the party. The Rector of Hawarden was in his shirt-sleeves, axe in hand, and positively bathed in perspiration. They had evidently, to use the Yankee phrase, “had a good time of it.” *By kind permission of Messrs. Novello, Ewer, and Co. </div> Original Format Part VII in an illustrated pamphlet dedicated to W. E. Gladstone Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "The Whole-Hearted Homage of a Hero-Worshipper" Date Created Date of creation of the resource. November 5, 1888 Creator An entity primarily responsible for making the resource Joseph Parkin Mayall (1839-1922) Source A related resource from which the described resource is derived The Grand Old Man, n 44, Pall Mall Gazette "Extra" (London) (November 5, 1888), Part VII, 26-30. LSE Selected Pamphlets, LSE LIbrary, http://www.jstor.org/stable/60214627 Subject The topic of the resource Mayall's reminiscences of his two visits to Hawarden Castle, Wales, in 1884 (he misremembers the year as 1883), to photograph the prime minister, W. E. Gladstone, for Artists at Home. Abstract A summary of the resource. A lengthy, discursive , autobiographical text in which the photographer J. P. Mayall recalls his two visits to Hawarden Castle to photograph W. E. Gladstone and his wife. As one of the only extant primary sources on Mayall, it is extraordinarily valuable, revealing his love of music and books; his tepid appreciation of royalty (he recalls going to Osborne as a child when his father, the much better-known photographer J. J. E. Mayall, was summoned to photograph Queen Victoria and her family) and his "whole-hearted" admiration for Gladstone and others like him, who had earned their position in the world through intelligence and hard work; his antipathy toward Roman Catholicism; his sense of social inferiority; his views on photography as an art form; and his photographic process. The story ends with Mayall glimpsing the Gladstone family at a distance, walking through Hawarden Park with axes in hand, preparing to fell a few trees. Is Referenced By A related resource that references, cites, or otherwise points to the described resource. Milk, Joanna (MacFarland). “Artists at Home: Artifice and Presence.” n.d. Accessed September 24, 2015. http://www.academia.edu/4168571/Artists_at_Home_Artifice_and_Presence Rights Information about rights held in and over the resource Public domain. Identifier An unambiguous reference to the resource within a given context Mayall_GOM_1888 Contributor An entity responsible for making contributions to the resource Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 30, 2016 Date Modified Date on which the resource was changed. December 5, 2016 https://artistsathome.emorydomains.org/files/original/f9135da7640be1a3b9ac56f510c6fcf3.pdf 0a0bd7b92d6228a73d681317139d9dcb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Press Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MR. GLADSTONE AT HOME. THE WHOLE-HEARTED HOMAGE OF A HERO-WORSHIPPER. MR. J. P. MAYALL, one of the well-known photographers of that name, paid two visits to Hawarden for the purpose of photographing Mr. Gladstone. Of them he has been good enough to send us the following interesting account, which will be read just now with great interest. Last night crowds of enthusiastic Liberals flocked to the National Liberal Club to see Mr. Gladstone on show. In the following article is a picture of him as he appeared to a hero-worshipper at home :— THE CASTLE LOOMS UP IN THE DISTANCE. I packed up my apparatus and started off with my assistant on January 15, 1883, by the 5:15 A.M. train, from Euston. We arrived at Broughton Hall in due course, distant about two miles from Hawarden Castle, which was visible from the railway station. We drove over in a trap. The day was dull and unpromising for photography. The aspect of the country became more interesting as we approached the lodge gates of the park which surrounds the castle. Once inside the park the undulating character of the country studded with fine trees was very charming, reminding one so much of the subject of Mendelssohn’s beautiful part-song “Departure.” To my mind Hawarden-park represents a magnificent poem set to music. There one would delight to roam the long summer days, “forgetting and forgot” by the thousand and one cares which beset the life of man in cities, under the blue sky of heaven, there to commune with one’s own heart. There to go out at eve in the fields, to meditate as Isaac did of old. Surely after a busy and chequered life there would be enough to occupy one’s thoughts. As a background to this magnificent scene, the stately castle looms in the distance, the goal of our journey and the home of one of England’s greatest men--a noble and stately pile, built of stone in the mediæval Gothic style, with embattled towers and ponderous gateway. Our coachman entertained us with bits of local lore, and acquainted us with the important fact that he had often driven the old lady and gentleman (alluding to Mr. and Mrs. Gladstone) from the station in the vehicle we occupied. The coachman was evidently quite at home, for on approaching the ponderous gates he stepped down in the most familiar way and opened them both, and then entered in state, as though the place belonged to him. I was somewhat afraid we were trespassing by thus entering at the front gate, being always fearful of intruding, like “Paul Pry.” I had written to Mrs. Gladstone immediately on receipt of her letter to say that we should present ourselves at the Castle on Tuesday morning. “SPARE NOT, WASTE NOT.” Accordingly, I sent up my card by the major-domo, after waiting a few minutes in the servants’ hall, where I whiled away the time by taking down an inscription written over the fireplace in these words :— Spare not, Waste not. To Sobriety Add Diligence. Good words, excellent precepts, sound advice. And where could moral virtue be inculcated with better grace than in the home of the past and future Prime Minister of England? One who himself excels in every moral and social virtue, worthily does he occupy the exalted position to which he has been called by the Sovereign and people of England. From his labours, his life, and his character may every Englishman learn the most useful of lessons. “Not slothful in business, fervent in spirit, worshipping the Lord.” His name Englishmen will always cherish and not willingly let die. But I must cease moralizing (which my friends tell me not to do), and come back to the subject. “THE TEMPLE OF PEACE.” Now came the technical and other difficulties to be surmounted in taking a photograph of Mr. Gladstone in his sitting-room. I had been somewhat alarmed at the persistent way in which Mr. Gladstone’s sitting-room had been pronounced too dark to be photographed. “Ah!” said I to myself, before seeing the sitting-room, “des faux bruits.” I have hardly seen a room which does not admit of being photographed with Wratten’s dry plates. “Soyez tranquille, mon ami,” I said to myself; “ne t’embarrasse point.” Now, Mrs. Gladstone told me that she wished to prepare Mr. Gladstone for the ordeal of being photographed, shall I say, for the thousand and first time. Would I, therefore, follow her into the “Temple of Peace.” .” By this tranquil name did she designate Mr. Gladstone’s sanctum. “Look round and take a general survey. Take no notice of Mr. Gladstone,” who was sitting in his favourite corner, reading. Accordingly, I followed her with light footstep and on entering I inwardly exclaimed, “Allons donc! des histoires. There is light enough here for my purpose.” But my attention was fully absorbed as Mrs. Gladstone pointed out the table where the Homeric studies had been penned, her own table, with many objects of interest scattered about (one a medallion of a great friend of Mr. Gladstone—Sidney Herbert, now no more). WHAT MR. GLADSTONE WAS READING. Mrs. Gladstone suggested to me that if I found the books in the way they could be removed. I said, “No! madam, don’t touch them. I am somewhat of a bookworm myself, and am jealous of any one disturbing my books. I will bring that much-treasured bookcase in view when I photograph Mr. Gladstone,” which I afterwards did. In the library were books on every conceivable subject. A series of shelves were dedicated to many and various editions of my favourite Shakespeare (the poet of poets). Even at a cursory glance I could gather from their titles in divers languages—Greek, Latin, Italian, French, German—those even which caught my eye. Ponderous tomes, representing the classical authors, Aristotle, Plato, Herodotus, Thucydides, &c. Reader, if you want to test your powers of comprehension, just try your ‘prentice hand on a volume of dry, theological disquisition which I saw in Mr. Gladstone’s library, entitled “L’Immaculata Concepzione.” Mr. Gladstone must have waded through this treatise with the same sturdy perseverance as though it had been a State paper to be grasped and fathomed before it could be dealt with, enabling him to expose the sophistry of the Roman Church. Yet one could imagine Mr. Gladstone’s capacious mind unraveling the thread of the argument and exposing it to view, unmasking, as it were, and divesting it of all its pomp of words and parade of logic with which the Church of Rome loves to array its lucubrations, which are made to conceal the real poverty and hollowness of the argument. “The Vatican Decrees” must have been well thumbed and thought over before answering. All the preparations being made and ready, the camera in site, double slides charged, and a good solid head-rest placed behind the chair, Mr. Gladstone was seated and I exposed the plate 120 seconds. Mrs. Gladstone and her son, who were in the library at the time, thought that I had exposed the plate five minutes, the time seemed so long. I said no, I had counted 120 long seconds, so Mr. Gladstone very good naturedly said, “Photographic seconds,” which I explained must be lengthened out if possible, as every photographer dreads under- exposure. A DESCRIPTION OF THE TEMPLE. I cannot here attempt to analyze my feelings on being ushered by Mrs. Gladstone into the “Temple of Peace,” and there to stand in the very room where Mr. Gladstone sat in his favourite corner, looking impassive as marble, engaged in reading. In that library at Hawarden Castle I saw one of the master spirits of the world, the scholar surrounded by his books and literary treasures, the man of letters immersed in thought, deep in study. You may perhaps be curious to know what book Mr. Gladstone had been reading. Now, as chance would have it, on my second visit to Hawarden Castle in June, 1883, after I had settled my apparatus in the library on the morning Mr. Gladstone sat to me the second time, I, being alone and having nothing else to do, availed myself of the opportunity to make a minute inspection of the library. On the table close by the chair where Mr. Gladstone sits in his library, I saw an open volume laid flat, placed with the pages facing the table so as not to lose the place—a habit familiar to every serious reader (and a very much better plan than dog-earing a page). I had the curiosity or indiscretion, which I dare say Mr. Gladstone will pardon, to examine the volume Mr. Gladstone had been reading, and the comments he had been making on it in his own handwriting. It was a volume in Greek—the Odes of Pindar. I said to myself, that must be pretty stiff reading, and would rather tax one’s knowledge of Greek. You require to be an enthusiastic Greek scholar to tackle such an author. The rest speaks for itself. To drop upon a man in his most unguarded moments might give you a surer key to his character and tastes than to meet him in public “staging himself in the eyes of the multitude.” I must confess, for my part, an extreme desire to make the acquaintance of men, not as they are seen by the outside world, but simply following the bent of their minds. Here is a touchstone of character which reveals volumes to the initiated and the genuine searcher. A FEAST FOR THE EYE. Mr. Gladstone then sat down in the chair, and here again was a feast for the eye of a painter, let alone a photographer. That face, that effect of light and shade, will never be effaced from my memory. It would have required Rembrandt himself to do justice to the occasion. There was a noble and majestic countenance, almost leonine in its aspect, so full of power and masculine dignity. This was one view of Mr. Gladstone’s face which I caught when I heard him speak in the House of Commons in May, 1883. At least, thought I to myself, I will aim at something different from anything I have yet seen of Mr. Gladstone. Whether I have succeeded or not I must leave others to judge. To the eye of the photographer Mr. Gladstone’s face is as pale as marble, and the lips and eyes alone give indication of colour. I have not seen any oil painting of Mr. Gladstone which satisfies my eye or which thoroughly represents the man. Per contra, as a salve to the portrait painters, I have seen a tremendous lot of caricatures of Mr. Gladstone in the shape of photographs (I hope that mine will not be included) which are downright false and repulsive. The finest photograph I have yet seen of Mr. Gladstone, and which I should like to have done myself, was one taken in Florence during his last visit to Italy. There is a delicacy and refinement about that photograph which pleases me. I have often gazed at it with much pleasure and delight. To the photographer Mr. Gladstone would be an endless subject: there is a refined expression on his countenance which caught my eye when speaking to him in the library which has not yet been portrayed either by painter or photographer. He will be a fortunate man who can render it. Original Format Newspaper article. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mr. Gladstone at Home. The Whole-Hearted Homage of a Hero-Worshipper. Date Created Date of creation of the resource. July 27, 1889 Creator An entity primarily responsible for making the resource Joseph Parkin Mayall (1839-1922) Source A related resource from which the described resource is derived Pall Mall Gazette (London), no. 7600 (July 27, 1889): 26-30. British Library Newspapers, Part I, Gale Document Number Y3200418466. Subject The topic of the resource Mayall's reminiscences about his two visits to Hawarden Castle to photograph W. E. Gladstone for Artists at Home. Abstract A summary of the resource. A redaction of Mayall's account of photographing W. E. Gladstone ("The Whole-Hearted Homage of a Hero-Worshipper," q.v.), which had been published the previous year as part of The Grand Old Man, a pamphlet dedicated to W. E. Gladstone. An editorial headnote makes no mention of the previous publication but explains that Mayall's reminiscences are being published that day because "last night crowds of enthusiastic Liberals flocked to the National Liberal Club to see Mr. Gladstone on show," creating an atmosphere in which Mayall's words of adulation would be particularly appreciated. Many of Mayall's more personal and philosophical reflections have been cut, but the text that remains is virtually unaltered. Relation A related resource Mayall_GOM_1888 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. J. P. Mayall, “The Whole Hearted Homage of a Hero-Worshipper,” in The Grand Old Man, No. 44, Pall Mall Gazette “Extra” (London) (November 5, 1888), Part VII, pp. 26–30. LSE Selected Pamphlets, LSE Library, <a href="http://www.jstor.org/stable/60214627">http://www.jstor.org/stable/60214627</a>. Rights Information about rights held in and over the resource Public domain Identifier An unambiguous reference to the resource within a given context Mayall_PMG_1889 Contributor An entity responsible for making contributions to the resource Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). October 30, 2016 https://artistsathome.emorydomains.org/files/original/e76f0a38f7872cfa872dcb8ede307a23.png 8e12dca4528ffe2f1170925fa46d47ee Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portraits Still Image Source State Library of Victoria, Melbourne, Australia URL http://www.slv.vic.gov.au/pictoria/gid/slv-pic-aab60485 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Parkin Mayall Date Created Date of creation of the resource. ca. 1875 Creator An entity primarily responsible for making the resource C. Dickson Medium The material or physical carrier of the resource. albumen silver carte-de-visite Format The file format, physical medium, or dimensions of the resource Photographic print On mount 10.7 x 6.5 cm, approx. Subject The topic of the resource Mayall, Joseph Parkin (1839-1922), photographer Description An account of the resource Three-quarter-length portrait of Mayall standing, wearing top hat, formal dress, and gloves. Rights Information about rights held in and over the resource Reproduced with permission from the State Library of Victoria, Melbourne, Australia, http://www.slv.vic.gov.au/pictoria/gid/slv-pic-aab60485 Contributor An entity responsible for making contributions to the resource State Library of Victoria, Melbourne, Australia Accession No: H32777; Image No: a15394 Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 7, 2016 Identifier An unambiguous reference to the resource within a given context Accession No. H32777 Date Modified Date on which the resource was changed. November 28, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date November 17, 1853 Birthplace London, England Death Date October 17, 1982 Occupation Painter Biographical summary Frank Dicksee was born in London on November 27, 1853. His education began in 1870 at the Reverend George Henslow’s school in Bloomsbury. While still a student, in 1872, he exhibited at the Society of British Artists in Suffolk Street. After five years at the Rev. Henslow’s school Dicksee left to study in preparation for entering the Royal Academy schools. He earned a silver and gold medal from the Academy in 1872 and 1875, respectively. His most popular work, Harmony, was picture of the year in 1877, and he was elected an Associate of the Royal Academy in 1881. He became a full Academician in 1891 and was elected President shortly thereafter. He died on October 17, 1928. Bibliography Frederick Dolman, "Painters and their Pictures," Strand Magazine: An Illustrated Monthly 23, no. 137 (May 1902): 483-491. ProQuest: https://login.proxy.library.emory.edu/login?url=http://search.proquest.com.proxy.library.emory.edu/docview/4164333?accountid=10747. Wilfred Meynell, The Modern School of Art, 4 vols. (London: Cassell, 1886), vol. 2. Oxford Dictionary of National Biography, s.v. “Dicksee, Sir Francis Bernard (1853–1928),” by Jennifer Melville, online ed., http://www.oxforddnb.com/view/article/32819 (accessed November 14, 2016). Mary Angela Dickens, "A Popular Painter," The Windsor Magazine: An Illustrated Monthly for Men and Women 5 (December 1896): 385-91, ProQuest: https://login.proxy.library.emory.edu/login?url=http://search.proquest.com.proxy.library.emory.edu/docview/876875410?accountid=10747 (accessed November 11, 2016), 386. F. G. Stephens, “Frank Dicksee A.R.A.,” Artists at Home (London: S. Low, 1884), 43. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Frank Dicksee Date Created Date of creation of the resource. Dicksee, Frank, A.R.A. (1853-1928), English painter Contributor An entity responsible for making contributions to the resource Omeka record contributed by Hilleary Gramling. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 15, 2016 Date Modified Date on which the resource was changed. November 15, 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists Person An individual. Birth Date March 10, 1800 Birthplace Ranelagh Street, Pimlico, London, England Death Date September 23, 1886 Occupation Painter Biographical summary Thomas Webster was born on March 20, 1800, in London. He was educated as a chorister at St. George’s Chapel, Windsor, and at the Chapel Royal, St. James’s, London. He began his studies at the Royal Academy Schools in 1821 and won a gold medal in 1825. He exhibited eighty-three works at the Royal Academy between 1823 and 1879, thirty-nine at the British Institution (1824-44), and eight at the Society of British Artists (1825-34). He was elected an A.R.A. in 1840 and an R.A. in 1846. In 1857 he moved to the village of Cranbrook, Kent, just outside of London, where he became the informal leader of the Cranbrook Colony, a group of younger artists who shared his interest in painting scenes of rural life. He became an Honorary Retired R.A. in 1876. His first wife, Betsy, died on January 27, 1859, at the age of fifty-nine and was succeeded by his second wife, Ellen. Webster died in Cranbrook on September 23, 1886. Bibliography Heleniak, Kathryn Moore. “Webster, Thomas (1800–1886).” Kathryn Moore Heleniak In Oxford Dictionary of National Biography, edited by H. C. G. Matthew and Brian Harrison. Oxford: OUP, 2004. Online ed., edited by David Cannadine, May 2011. http://www.oxforddnb.com/view/article/28947 (accessed November 8, 2016). “The Royal Academy, The Seventy-First Exhibition, 1839,” The Art Union 1 (December1839): 69-70. The Cranbrook Colony, Wed, Oct 20, 2010 (10:11 PM), Archant Community Media Ltd. http://community.archant.net/life/kent/blogs/gbl/ken/b/rachael_hales_blog_on_kents_historical_people_and_places/archive/2010/10/20/the-cranbrook-colony.aspx (accessed November 10, 2016). “Cranbrook Colony.” 2013. Accessed November 10, 2016. http://www.cranbrookmuseum.org/cranbrook-colony.html. Stephens, F. G. “Mr. Thomas Webster. Hon. Retired R.A.” Artists at Home (London: S. Low, 1884), 9. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thomas Webster Subject The topic of the resource Webster, Thomas, Hon. Retired, R.A. (1800-1886), English painter Contributor An entity responsible for making contributions to the resource Omeka record contributed by Hilleary Gramling. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 16, 2016 Date Modified Date on which the resource was changed. November 16, 2016 https://artistsathome.emorydomains.org/files/original/e2fcf786e244b7ac612a9acdb04f1780.jpg dd26fe9d84521d9778db1bcdab3b3260 https://artistsathome.emorydomains.org/files/original/f7964f2da09ba1cec6308ccf7c0fdd24.jpg 8f2c68c2db881ddec1b013046d90fb18 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portraits Still Image Date c. 1884 Notes This is one of several photographs taken by Mayall for a planned but never published series of portraits, Statesmen at Home. Cecil was elected prime minister for the first time in June 1885, only a few months after the publication of his biography, upon the resignation of W. E. Gladstone, and remained in office until January 1886. He was elected twice more and served as P.M. in 1886-92 and 1895-1902. Mayall produced a second image of the Marquis of Salisbury, which he copyrighted on June 17, 1884. This was described on the application as "Photograph of the Marquis of Salisbury nearly profile face" (National Archives, COPY 1/368/249). Presumably at a later date, Mayall photographed the Marchioness of Salisbury, Georgina Alderson (d. 1899), in two poses. Both were registered on December 10, 1895. The first was described as "Photograph of The Marchioness of Salisbury, nearly side face" (COPY 1/422/866), the second, "Photograph of The Marchioness of Salisbury, full length seated, nearly side face" (COPY 1/422/867). URL <a href="https://archive.org/details/lifeandspeeches00pullgoog">https://archive.org/details/lifeandspeeches00pullgoog</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Marquis of Salisbury, K.G. Date Created Date of creation of the resource. 1884 Creator An entity primarily responsible for making the resource Joseph Parkin Mayall (1839-1922) Medium The material or physical carrier of the resource. Photograph Source A related resource from which the described resource is derived Frederick Sanders Pulling, The Life and Speeches of the Marquis of Salisbury, K.G. (London: Sampson Low, Marston, Searle, & Rivington, 1885), frontispiece. Subject The topic of the resource Cecil, Robert Arthur Talbot Gascoyne, third marquess of Salisbury (1830-1903), in the library of his family home, Hatfield House in Hertfordshire. Date Issued Date of formal issuance (e.g., publication) of the resource. 1885 Date Copyrighted Date of copyright. February 29, 1896, by Joe Parkin Mayall, 67 Gascony Avenue, West Hampstead, London. Late of 548 Oxford Street, London, owner and author of the work. Copyright description: "Photograph of The Marquis of Salisbury, in his Library at Hatfield House, seated holding book." Description An account of the resource Three-quarter view of heavily bearded gentleman seated, both hands clasped on a book in his lap, in front of a wall of books. Is Referenced By A related resource that references, cites, or otherwise points to the described resource. “The Manchester Ship Canal.” The Pall Mall Gazette, issue 5944, March 25, 1884: "Mr. J. P. Mayall, the photographer of 'Artists at Home,' now being published by Messrs. Sampson Low, Marston, and Co., recently photographed Lord and Lady Salisbury, the Duke of Argyll, the Bishop of St. Albans and several of the young people at Hatfield House in an out-door group. (19th Century British Library Newspapers: Part II). “Notes on Art and Archaeology.” The Academy, no. 621 (March 29, 1884): 230-31. "MR. J. P. MAYALL, the photographer of Artists at Home, now being published by Messrs. Sampson Low, has recently taken an outdoor group, in the courtyard of Hatfield, comprising the Marquis and Marchioness of Salisbury, the Duke of Argyll, the Bishop of St. Albans, and several of the young members of the Marquis’s family." Morning News (London), August 13, 1884. "The success of 'Artists at Home,' now being published by Messrs. Sampson Low, Marston, & Co., has encouraged Mr. J. P. Mayall (Park Lane Studio) to extend the series to 'Statesmen at Home.' The photographs already taken for the work are Lord Salisbury in his library at Hatfield; Lord Carnarvon, who has recently sat, in his library at Highclere Castle, and Mr. Gladstone (Newspapers.com). “Life and Speeches of Marquis of Salisbury, K. G.," Publishers’ Circular 47, no. 1140 (March 16, 1885): 264: "With a Photogravure Portrait of LORD SALISBURY, From a Photograph taken by J. P. Mayall in the Library at Hatfield House. Nearly ready, 2 vols. crown 8vo price 21s. THE Life and Speeches of the MARQUIS OF SALISBURY, K.G. by F. S. Pulling, M.A. . . . Sampson Low, Marston, Searle, & Rivington" Rights Information about rights held in and over the resource Public domain Contributor An entity responsible for making contributions to the resource Omeka record contributed by Linda Merrill Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). November 16, 2016 https://artistsathome.emorydomains.org/files/original/41432c019b0f0c0d56313b4ee06a2af7.png c73c3d9882546ab1017879830482b99a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Artists' Houses Still Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Studio of Frederic Leighton Date Created Date of creation of the resource. c. 1883 Creator An entity primarily responsible for making the resource Maurice B. Adams Format The file format, physical medium, or dimensions of the resource Drawing (reproduction) Source A related resource from which the described resource is derived Adams, Maurice. Artists’ Homes: A Portfolio of Drawings including the Houses and Studios of Several Eminent Painters, Sculptors and Architects. London: B. T. Batsford, 1883. Subject The topic of the resource Studio house of Frederic Leighton at No. 2 Holland Park Road, Kensington Date Issued Date of formal issuance (e.g., publication) of the resource. 1885 Description An account of the resource Exterior of the garden front of Leighton House, showing north-facing studio windows on the first floor and the Arab Hall. Rights Information about rights held in and over the resource Public domain Contributor An entity responsible for making contributions to the resource Omeka record contributed by Linda Merrill https://artistsathome.emorydomains.org/files/original/c5e36f1defc192fa2d844c2b7202ac44.jpg 24bf74e59c7535d6ed28c1fae3a0dd91 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portraits Still Image Birth Date March 17, 1846 Birthplace London Death Date November 6, 1901 Occupation Illustrator Date 1870s Source National Portrait Gallery (x15155) URL http://www.npg.org.uk/collections/search/portrait/mw57543/Kate-Greenaway?LinkID=mp59482&search=sas&sText=kate+greenaway&role=sit&rNo=0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kate Greenaway Date Created Date of creation of the resource. 1870s Creator An entity primarily responsible for making the resource Elliott & Fry Medium The material or physical carrier of the resource. Albumen cabinet card Format The file format, physical medium, or dimensions of the resource 5 5/8 in. x 3 7/8 in. 142 mm x 99 mm Source A related resource from which the described resource is derived National Portrait Gallery Subject The topic of the resource Greenaway, Catherine "Kate" (1846-1901), illustrator Rights Information about rights held in and over the resource © National Portrait Gallery, London Description An account of the resource The artist is seated in an upholstered chair, at a desk, with pen and paper in hand. Date Modified Date on which the resource was changed. December 4, 2016